สำนักราชบัณฑิตยสภา

«“√ “√ √“™∫— ≥±‘ µ¬ ∂“π ªï ∑’Ë ÛÒ ©∫— ∫∑’Ë Ò ¡.§.-¡’ .§. ÚıÙ˘ Srisurang Poolthupya 275 the eyes and mouth, the color, the top or peak of the crown. A demon dances differently from a man or a monkey. As the mask can not show emotions or moods, and does not allow a character to speak, the dance gestures, musical tunes and songs must convey the feelings and moods instead. Real human gestures are convention- alized into dance gestures which, once understood by the audience, become effective dramatically. Each tune of music has its mean- ing; hearing the music, the au- dience knows what is happening. For example, one tune means the character is weeping, another means he is transforming himself from a demon into a deer or a human being. The costumes of Khon and Hun may look too rich with its gold and glitters. This is neces- sary especially in the olden days when spotlights had not yet been invented. In the glow of oil lamps and burning torches, the costumes needed to be bright and glittering to be seen properly from the far- thest audience. The carved coloured leather puppets used for Nang Yai are a combined art of painting, por- traiture and graphic design. The leather figures become alive both in front and behind the screen. The play between light and colours is very artistic. It is a pity that the conservation work started rather late in the last century. Some old and invaluable leather puppets disappeared or remain damaged. Many were sold to foreign collectors. The few remaining are mostly preserved by the monks of Khanon temple in Ratchaburi province. However, the art of making leather puppet is still alive and promoted in Thailand by H.M. the Queen. The art involved in the worship of the master In connection with the per- formances and studies of Khon, Nang and Hun which present the episodes from the Ramakien, the ceremony of worshipping the masters or Wai Khru must be per- formed. The masters or teachers of old must be worshipped pro- perly and asked for blessings. There are special verses for in- vocation, special offerings and dances for the masters. Neither performers nor students dare perform or learn without taking part in the Wai Khru ceremony first. This shows the ancient Thai tradition of obedience and gratitude to their art teachers. The tradition helps preserve the invaluable art and culture of Thailand. In the ceremony, the impor- tant masks or all the masks must be displayed. Those of the sages (rishis) and Birap (a benign demon) are especially sacred. Food, flowers and incense sticks are offered to the masters repre- sented by the Khon masks. In Nang Yai performance, the wor- shipping ceremony starts off by placing the Nang figures of Na- rayana, rishi, and Shiva in front of the screen. 11 Each figure is garlanded and the head of the troupe lights 3 candles to begin the worship. The reasons for the appeal of the Ramakien The Rama story is a very appealing story in itself. More than a story of love and sacrifice, it presents the image of an ideal king Rama who symbolizes the force of virtue or dharma while Thotsakan (Ravana) symbolizes the force of evil. In the long strug- gle between the two, Rama even- tually wins. The Ramakien is, therefore, the symbol of victory of the good over the evil. Rama is also the symbol of good king- ship, of sacred power of the king whom everyone must obey, serve, and show absolute loyalty. The absolute devotion and loyalty of Rama’s brothers and generals are stressed, so is Sita’s faithfulness in spite of her long stay in Lanka. The performance of Rama- kien instils many ideals and much knowledge while it entertains: moral obligation, bravery, grati- tude, the Buddhist philosophy of transitoriness and Buddhist law of cause and effect, war strategy, discipline and many other virtues necessary for a nation. The Ra- makien is one of the most success- ful form of moral and political edu- cation for the courtiers, officials